the use of the frontal and other Vaishńava marks; and they notice other subjects which, like these, are of no remote origin. The Pátála Khańd́a dwells copiously upon the Bhágavata, and is consequently posterior to it. The Uttara Khańd́a is intolerantly Vaishńava, and is therefore unquestionably modern. It enjoins the veneration of the Sálágram stone and Tulasí plant, the use of the Tapta-mudra, or stamping with a hot iron the name of Vishńu on the skin, and a variety of practices and observances undoubtedly no part of the original system. It speaks of the shrines of Śrí-rangam and Venkatádri in the Dekhin, temples that have no pretension to remote antiquity; and it names Haripur on the Tungabhadra, which is in all likelihood the city of Vijayanagar, founded in the middle of the fourteenth century. The Kriyá Yoga Sára is equally a modern, and apparently a Bengali composition. No portion of the Padma Puráńa is probably older than the twelfth century, and the last parts may be as recent as the fifteenth or sixteenth 40.

Footnotes

xviii:37

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xix:38 See .

xx:39 One of them, the story of Jalandhara is translated by Col. Vans Kennedy: Affinities of Ancient and Hindu Mythology, Appendix D.

xxi:40 The grounds of these conclusions are more particularly detailed in my Analysis of the Padma P.: J. R. As. Soc. vol. V. p. 280.

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